Theatre Design & Technology - Fall 2005 - 38
The place we most often begin, the ground
plan, is a perfect place to begin to articulate and
explore the possibilities of symbolic and sensual expression. My ground plans include initial, aesthetic responses to the text. Rather
than thinking of playing areas, I think of movement areas: where do the actors need to move,
what is the symbolism of their movements.
Movements and emotions are fluid, direct,
playful, contorted, or painful. The space the
actors inhabit needs to support the emotional
ambience they, and the director, create. For
example, in my design for The Little Train
that Could (but chose not to) (pictured,
pages 30-31), I rearranged the seating risers
in the studio space to emphasize triangles and
edges, which matched the play's emphasis in
triangular relationships. The play is set within
a frustrated literature teacher's office, and the
subject of the interaction is her current and
past relationships with students. A desk and
other furniture made entirely of books added
to the oppressive and dangerous atmosphere
of the teacher's academic fortress where her
own internal struggle with sensuality and
power is played out.
In the end, I feel that the act of drawing
the human body, addressing the image of the
human form on paper, constitutes one of the
best ways for the designer to develop empathy
for the situation of the actor. In the neighborhood in Pittsburgh where I used to live the
graffiti was often quite beautiful, but there was
something deeper there than fun shapes and
colors. Observed in isolation, outside of architectural context, the forms of a given graffiti
"tag" would seem to be related only to itself.
This genre, however, seems to me to be the human being trying to assert the golden section-the "divine proportion"-onto harsh,
inhuman architectural settings. The act of
drawing is not just a mundane step in the creation of a rational structure. It is, instead, the
recording of physically dramatic art. Artaud
prescribed in The Theatre and Its Double that
actors must use their bodies as graphic expressions of their speech. I believe that the gestural
shape and space of our settings should reflect
the emotional sounds, the music of the utterances on stage, using the set as the body. ❖
PMS 185 ad
Karl Brake is a free-lance scenic
designer and visual artist, and a full-time
faculty member in fine art at Eastern
Wyoming College. Previously, he worked
professionally in Pittsburgh for sixteen
years, and taught at Carnegie Mellon.
TD & T
F
A
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0
0
5
37
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2005
Contents
Theatre Design & Technology - Fall 2005 - 1
Theatre Design & Technology - Fall 2005 - 2
Theatre Design & Technology - Fall 2005 - 3
Theatre Design & Technology - Fall 2005 - Contents
Theatre Design & Technology - Fall 2005 - 5
Theatre Design & Technology - Fall 2005 - 6
Theatre Design & Technology - Fall 2005 - 7
Theatre Design & Technology - Fall 2005 - 8
Theatre Design & Technology - Fall 2005 - 9
Theatre Design & Technology - Fall 2005 - 10
Theatre Design & Technology - Fall 2005 - 11
Theatre Design & Technology - Fall 2005 - 12
Theatre Design & Technology - Fall 2005 - 13
Theatre Design & Technology - Fall 2005 - 14
Theatre Design & Technology - Fall 2005 - 15
Theatre Design & Technology - Fall 2005 - 16
Theatre Design & Technology - Fall 2005 - 17
Theatre Design & Technology - Fall 2005 - 18
Theatre Design & Technology - Fall 2005 - 19
Theatre Design & Technology - Fall 2005 - 20
Theatre Design & Technology - Fall 2005 - 21
Theatre Design & Technology - Fall 2005 - 22
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Theatre Design & Technology - Fall 2005 - 24
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Theatre Design & Technology - Fall 2005 - 27
Theatre Design & Technology - Fall 2005 - 28
Theatre Design & Technology - Fall 2005 - 29
Theatre Design & Technology - Fall 2005 - 30
Theatre Design & Technology - Fall 2005 - 31
Theatre Design & Technology - Fall 2005 - 32
Theatre Design & Technology - Fall 2005 - 33
Theatre Design & Technology - Fall 2005 - 34
Theatre Design & Technology - Fall 2005 - 35
Theatre Design & Technology - Fall 2005 - 36
Theatre Design & Technology - Fall 2005 - 37
Theatre Design & Technology - Fall 2005 - 38
Theatre Design & Technology - Fall 2005 - 39
Theatre Design & Technology - Fall 2005 - 40
Theatre Design & Technology - Fall 2005 - 41
Theatre Design & Technology - Fall 2005 - 42
Theatre Design & Technology - Fall 2005 - 43
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